Archive for the ‘/FASHION:’ Category

ZOWIE

30:08:10

We’ve all had to wait a long time since Bionic Pixie popped up taking over bnets, Glassons ads, and TV One’s Asia Downunder alike. The next single was due, then…nothing…

One year on and the transformation from Bionic Pixie to Zowie is incredible.

A busy year spent securing World class management, a deal with Sony Music Australia, travelling the World writing and producing her debut album. The only thing we believe, and hope, has remained the same is Zowie’s longstanding collaboration with local designer and best friend Serena Fagence. Zowie is deservedly setting Worldwide blogs a flutter – even Perez Hilton “LOVES” her.

So, keep an ear out for Zowie’s brilliant new single ‘Broken Machine’ which goes to radio in the next week or so. I don’t think you’ll need to try that hard, it will be everywhere! More importantly keep an eye out for the incredible video that accompanies the single, directed and produced by Special Problems.

Until then keep up your Zowie fix at her new youtube channel:
www.youtube.com/user/iamzowie
Zowie

Kevin Murphy – Protection…

19:08:10

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The clever folk at KEVIN.MURPHY continue their takeover of my bathroom cabinet with PROTECTION.LINE; a break-through range of Shampoo, leave-ins and styling aids that protect the hair from intense heat (you straightener addicts know who you are) without leaving excess weight or residue.

Using a patented Extreme Hair Protection Complex, PROTECTION. LINE contains a blend of natural ingredients traditionally used in the treatment of burns and its high-level of anti-oxidants, essential oils and amino acids make it a saviour for damaged hair.

All products in the PROTECTION.LINE are sulphate and paraben free and, like all
KEVIN.MURPHY goods, provide excellent style-hold while smelling damn-near good enough to eat.

Words by Katie May Rusco

Kids of 88…

19:08:10

Sam McCarthy – Vocals  / Jordon Arts – Synths

I met Sam about three years ago; he came to  borrow some clothes from the PROCESS showroom a for music video.. I couldn’t believe how nice he was… I am always in awe of the musically talented… probably due to my being tone deaf! [as my partner so eloquently puts it!] Having been signed to Sony Music for a worldwide record deal the boys have also launched their album this week… check out the below Q&A…. Words By Caroline Brown

 

Kids of 88 / Vocals / Sam McCarthy / PROCESS Q&A  

KidsOf88-blog

 

If I was to describe my latest work in five words or less, I would say… “Melting-Pot, Spanner, Whirlwind, Tsingtao”

 For breakfast this morning I had… “Fair-trade coffee, so i’m no doubt feeling pretty morally righteous…”

 The person who has made the biggest impact on my life is… “A particularly Flighty blonde, 5′7″ , cobblestone eyes. Oh and Bruce Forsyth”.

 I know all the words to (song)…. “The Beatles – Blackbird, amazing really, im horrible with lyrics”

 My proudest moment was… “Mastering a full milk milo, get me 1200w microwave and I’ll prove it.”

 My style icon is… “The Dark Horse (the sgt. Pepper years), and Heathcliff, Wuthering Heights”

 When I was a kid, I wanted to be… “One of the Cosby kids, hands down’.

 Attach a photo/video link of something funny or interesting or that just generally sums up how they are feeling at that moment?

http://lisakereszi.com/images/41.jpg

 Kids of 88 – Managed by Ashley Page of Page One Management

Julian Dashper (1960-2009): It Is Life

18:08:10

at MINUS SPACE {98 4th Street, Brooklyn, NY 11231}

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Julian Dashper was one of New Zealand’s most accomplished contemporary artists — he died a year ago.

In his work Julian often reduced things to essential elements, put like with like and delineated opposites. It was therefore unmistakably a Dashper thread that neatly tied together a group of his colleagues and friends in Brooklyn last Saturday afternoon at the opening of It Is Life at Minus Space — an exhibition consisting of heartfelt written remembrances of Julian’s life and work. Julian would have chuckled as at the preview many of us unraveled connections he had attempted to make between each of us in prior years — introductions, crossed paths and shared opportunities.

Julian’s work focused on the histories, theories and more general or popular ideas of abstraction, conceptualism and minimalism as a working methodology. His practice took many forms, from painting to performance. As an International artist living and working in New Zealand, Julian’s work, and life, also dealt with the duality of local/global, as seen in his work Future Call, the sole work presented amongst the written tributes that make up It Is Life at Minus Space. Future Call consists of a single telephone installed in the gallery that is periodically called from New Zealand, 16 hours ahead of New York City — a call from the future, only to be left ringing and unanswered. I think we all fought the desire to ‘pick-up’ as the phone rang through our collective reminiscing, I  for one am curious to know what the future holds….

Julian traveled broadly and had friends and allies across the globe, the 70 or more ‘personal notes, memories, anecdotes, criticism, correspondence, poems, and elegies’ from around the world and on display at Minus Space in Brooklyn are testament to that fact. Incredibly personal and poignant, each note held a unique story, the contributors include: Soledad Arias, Marcus Bering, Channa Boon, Ralf Brög, Henry Brown & Millicent Borges Accardi, Mary-Louise Browne, Vicente Butron, Melanie Crader & Mick Johnson, Christoph Dahlhausen, Kasarian Dane, Judy Darragh & Rosanna Albertini, Christopher Dean, Matthew Deleget & Rossana Martinez, Ali Duffey, Daniel Feingold, Linda Francis, Alicia Frankovich, Zipora Fried, Andrea Gaskin, Daniel Göttin & Gerda Maise, Michelle Grabner, Billy Gruner & Sarah Keighery, Vaughan Gunson, Lynne Harlow, Miriam Harris, Gilbert Hsiao, William Hsu, Simon Ingram, Kyle Jenkins, Ian Jervis, Jeffrey Cortland Jones, James Juszczyk, Steve Karlik, Mark Kirby, WJM Kok, Keira Kotler, Elodie Lesourd, Stephen Little, Joshua Lux, MariaMaria, Jackie Meier, Moreno Miorelli, Dane Mitchell, Victoria Munro, Geoff Newton, John Nixon, Rose Nolan, Salvatore Panatteri, Carrie Patterson, Nathan Pohio, Gwynneth Porter, Mel Prest, Linda Roche, Layla Rudneva-Mackay, Erik Saxon, Karen Schifano, Marie Shannon, Sandra Smith, Barbara Strathdee, Robert Swain, David Thomas, Mandy Thomsett-Taylor, Tilman, Jan van der Ploeg, Machiel van Soest, Erica van Zon, Jan Maarten Voskuil, Marcus Williams, Emi Winter, Rachael Wren, Patricia Zarate, and others.

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Julian Dashper was born on February 29, 1960 (leap year day). During his career, he mounted more than 140 solo exhibitions of his work worldwide, including in New Zealand, Australia, Asia, Europe, and the United States. In 2001, he was awarded a Fulbright Fellowship to be an artist in residence at the Chinati Foundation in Marfa, TX. A 25-year retrospective of Julian’s work, entitled Midwestern Unlike You and Me, curated by Christopher Cook and David Raskin, traveled the United States during 2005-2006, making stops at the Sioux City Art Center, IA; Sheldon Memorial Art Gallery, NE; and Ulrich Museum of Art, KS. Julian’s work was included in our comprehensive group exhibition MINUS SPACE at P.S.1 Contemporary Art Center in NYC in 2008-2009. Julian died on July 30, 2009, and is survived by his wife Marie Shannon and their teenage son Leo.

to see more of Julian’s work:
www.suecrockford.com/artists/images.asp?aid=28

To see more of the show check out the James Kalm report:
http://www.youtube.com/user/jameskalmroughcut#p/a/u/0/bzKQWVvuIdk

To read a touching remembrance of Julian:
http://cherylbernstein.blogspot.com/2009/08/signs-to-live-by.html

or go to Minus Space’s site:
http://www.minusspace.com/category/currentexhibition/

Words by Tana Mitchell

The Collector…

12:08:10

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(R18) Starring Josh Stewart, Michael Reilly Burke, Andrea Roth, Madeline Zima, Karley Scott-Collins, Juan Fernandez. Directed by Marcus Dunstan. 90 minutes.

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I once took a date to an advance screening of Saw II, not knowing anything about the film except it was a horror. Within 10 minutes I asked her if she wanted to leave. Within 15 minutes I wanted to leave. Within 20 minutes we exited the movie before I killed someone.

It wasn’t that the movie encouraged me to replicate the behaviour of its villain, the Jigsaw Killer, though I suspect the Saw films have spawned copycat killers or strongly influenced the dark desires of individuals on the edge of committing heinous crimes. I wanted to kill the owners of the twisted, amoral minds who would dream up such vile and disgusting acts of torture and death and package them as entertainment.

I’ve nothing against horror movies or movie violence. I’m also not an advocate of censorship. But violence presented as a form of pornography, irrevocably designed to titillate the basest instincts of its audience, blurs the acceptable boundary of what constitutes art or entertainment. Which brings us to The Collector, another snuff movie by the creators of Saws IV-VI.

Thematically, The Collector is the Saw movies’ equally untenable twin brother. It’s evil masquerading as entertainment. Despite the quality of the filmmaking itself, it possesses no justifiable reason to exist. Written by Marcus Dunstan and Patrick Melton, it taps a lamentable contentment in its horrifyingly large audience to derive enjoyment from watching humans being dismembered, tortured, made to watch others suffer and brutally killed.

The problem is that these films are generating their makers, distributors and exhibitors money by the bloodstained barrelful. That’s nothing new. Producers and studios have been tapping the splatter horror genre for decades to get teenagers into drive-ins and multiplexes. Some of the films even have tenuous artistic merit, including a number by Herschell Gordon Lewis, Roger Corman and Russ Meyer. Even Steven Spielberg’s generation-defining blockbuster Jaws exploited human – and shark – bloodlust in 1975.

But films like Saw, Hostel, the recent remake of Friday the 13th and now The Collector are taking violence to new extremes, with little discernible artistic, psychological, spiritual or evolutionary merit. Some would argue that’s the whole point.

When handyman-by-day, cat-burglar-by-night, Arkin (Stewart), breaks into a rural family’s home early into The Collector, it seems the film will observe the conventions and restraint of more standard horror thrillers. However, Arkin – and the audience – is quickly plummeted into hell in a house. He’s stumbled upon a sinister scenario involving an innocent family imprisoned, tortured then gruesomely killed and his only hope of escape is to outsmart the gimp-masked lunatic in control of the asylum.

If that sounds like your kind of movie, check yourself into a mad house immediately. Hopefully you’ll be eating gruel and wearing a straitjacket alongside Dunstan, Melton and others responsible for sending humanity back to the Dark Ages.

 THE PITCH: Die! Die! Die!

WATCH OUT FOR: Bloody sequels.